scholarly journals The role of spatial images in R.D. Harris’s novel “Pompeii”

2020 ◽  
pp. 56-67
Author(s):  
E.V. Somova ◽  
E.B. Schemeleva
Keyword(s):  
Historical Novel ◽  
The Novel ◽  
Ancient Greek ◽  
Postmodern Literature ◽  
The Real ◽  
Adam And Eve ◽  
Semantic Fields ◽  
New Material ◽  
Postmodern Novel ◽  
The Mind

The article focuses on the novel “Pompeii” by Robert Dennis Harris which has been little studied in Russia and presents a new material for further research. The purpose of the research is to identify the originality of spatial images in the novel of the British writer. Basing on the comparative historical and analytical methods, the authors of the article explore the main principles of creating historical narration and the specifics of R.D. Harris’s work with historiographical sources while creating a historical epoch; they identify the features of W. Scott and E.G. Bulver-Lytton. Within the context of the study of the originality of spatial topoi in “Pompeii” the authors use extensively the concept of “topoekphrasis”, introduced by O.A. Kling. It distinguishes the place setting as a protagonist who influences greatly the course of events. While analyzing, the authors make the following conclusions about the national condition of the scene given by using ekphrasis and the correlation of the myth with the actual realities in the modern cultural system which indicate the stereotypical thinking of a person in the postmodern society: the myth of Adam and Eve who found themselves in Paradise, associated in the mind of a European with Capri which represents “unearthly” life; the expansion of the semantic fields after reading the myth of Sodom and Gomorrah which describes the destruction of two biblical cities and is brought closer in the novel to the events associated with the real tragedy in Pompeii, undoubtedly show the similarity of its plot resolution with the modern eschatological myth of the Apocalypse, which tells us about the inevitable death of civilization. The analysis of the mythological paradigm of R.D. Harris’s novel "Pompeii", organized by combination of ekphrasis and topoi, discloses the transformation of the postmodernist writer’s worldview, creating a new metaphysical reality in the historical novel. In addition to the real spatial topoi of the ancient world (forum, aqueduct, temple), the postmodern novel reveals mythological images: a labyrinth associated with the ancient Greek story of Theseus; the underground world of the dead, linked to the myth of Charon. The artistic understanding of the historical process by R.D. Harris allows us to identify the originality of the writer’s historical concept in the context of postmodern literature.

scholarly journals A realidade das sensações: uma teoria filosófica e ética no romance A Costa dos Murmúrios, de Lídia Jorge / The Reality of Senses: A Philosophical and Ethic Theory in the Novel A Costa dos Murmúrios, by Lídia Jorge

2019 ◽  
Vol 39 (61) ◽  
pp. 29
Author(s):  
Cristina Costa Vieira
Keyword(s):  
Historical Novel ◽  
Direct Access ◽  
The Novel ◽  
Philosophical Theory ◽  
The Real ◽  
Perceptual Realism ◽  
Ethic Theory ◽  
The Erotic

Resumo: O artigo pretende provar que a valorização das sensações do mundo material como acesso ao real subjaz ao romance A Costa dos Murmúrios, de Lídia Jorge, e aí traduz uma teoria ético-filosófica. O realismo perceptivo de A. D. Smith e o valor cultural das sensações de Nadia Serematakis alicerçam teoricamente este artigo, numa metodologia comparativista, porque semiótico-contextual, comprovando, a partir de vários passos romanescos, que as sensações físicas estruturam e reestruturam a percepção do real: assim os murmúrios de atrocidades silenciadas, cometidas em contexto de Guerra Colonial, ou o verdadeiro “eu” por detrás da máscara de um noivo galante. A memória dos cheiros e cores da boda de Evita, o toque erótico de Luís Alex, serão, por isso, tão reais quanto a visão do sangue derramado de flamingos e das fotos escondidas de moçambicanos massacrados em contexto de Guerra Colonial, transformando a percepção que Evita, isto é, Eva Lobo, tem de Moçambique e do seu noivo Luís Alex e obrigando a reler a verdade do conto inicial inserido no romance, intitulado “Os Gafanhotos”.Palavras-chave: Lídia Jorge; A Costa dos Murmúrios; romance histórico português; Guerra Colonial; Moçambique; sensações; ética.Abstract: The article intends to prove that the valuation of senses as direct access to reality underlies the novel A Costa dos Murmúrios, by Lídia Jorge, and here sustains a ethical-philosophical theory. The perceptual realism by AD Smith and the different cultural valuation of senses by Nadia Serematakis base theoretically this article, following a comparative, semiotic-contextual, methodology, proving, from several novel passages, that physical sensations structure and restructure the perception of reality. As the murmurs from silenced atrocities committed in the context of Colonial War or the real “Me” behind the mask of a charming fiancé. The memory of the smells and colours of Evita’s wedding, the erotic touch of Luís Alex, will therefore be as real as the sight of the blood spilled from flamingos and the hidden photos of Mozambicans massacred in the context of the Colonial War, transforming the perception that Evita, that is, Eva Lobo, has of Mozambique and her fiancé Luís Alex and forcing to reread the truth of the initial tale inserted in the novel, titled “Os Gafanhotos”, The Grasshoppers.Keywords: Lídia Jorge; A Costa dos Murmúrios; Portuguese historical novel; Colonial War; Mozambique; senses; ethics.

scholarly journals GENRES’ BALANCING IN E. MENDOZA’S NOVEL “THE AMAZING JOURNEY OF POMPONIUS FLAT”

2021 ◽  
Vol 6 (2) ◽  
pp. 141-150
Author(s):  
Anna A. Bagdasarova ◽  
Alexandr I. Slyshenko
Keyword(s):  
Spanish Literature ◽  
Historical Novel ◽  
Don Quixote ◽  
Historical Novels ◽  
The Novel ◽  
Historical Reconstruction ◽  
Detective Story ◽  
Eduardo Mendoza ◽  
Postmodern Novel

The article explores the genre specificity of the postmodern novel, “The Amazing Journey of Pomponius Flat” by the contemporary Spanish writer Eduardo Mendoza. The novel is based on the principles of a ludic literature tradition, one of the manifestations of which is a sophisticated interplay of various ‘high’ and ‘low’ genres in neo-baroque fashion. The novel develops an ironic detective story, but also represents different genre markers of the travel novel, the picaresque and historical novels, whose traditions and cliches are introduced in an ironic way. The journey of the heronarrator, which is mentioned at the beginning and at the end of the novel, in fact, has no significance for the plot. The image of the protagonist combines two archetypical figures, keys to Spanish literature – the trickster and Don Quixote. In accordance with the tradition of a historical novel, E. Mendoza’s work creates the illusion of historical reconstruction, but there is no true historicism in the novel, since reliable facts are interspersed with speculations and fantastic elements that question the reliability of the whole story.

The Garden as Unfinished Narrative of the Good in C.S. Lewis’ Perelandra

2012 ◽  
Vol 2 (1) ◽  
pp. 49-80
Author(s):  
Evrea Ness-Bergstein
Keyword(s):  
The Novel ◽  
Garden Of Eden ◽  
Adam And Eve ◽  
Dead End ◽  
Growth And Change ◽  
Literary Devices ◽  
Hortus Conclusus

In Lewis’ transposition of Milton’s Paradise to a distant world where Adam and Eve do not succumb to Satan, the structure of Eden is radically different from the enclosed garden familiar to most readers. In the novel Perelandra (1944), C.S. Lewis represents the Garden of Eden as an open and ‘shifting’ place. The new Garden of Eden, with Adam and Eve unfallen, is a place of indeterminate future, excitement, growth, and change, very unlike the static, safe, enclosed Garden—the hortus conclusus of traditional iconography—from which humanity is not just expelled but also, in some sense, escapes. The innovation is not in the theological underpinnings that Lewis claims to share with Milton but in the literary devices that make evil in Perelandra seem boring, dead-end, and repetitive, while goodness is the clear source of change and excitement.

Drawing the Written Woman

2014 ◽  
Vol 7 (2) ◽  
pp. 31-63
Author(s):  
Sonia Lagerwall
Keyword(s):  
Historical Novel ◽  
Dynamic Adaptation ◽  
Adaptation Process ◽  
The Novel ◽  
Artistic Training

This article deals with Philippe Druillet's three-volume comic adaptation (1980–1985) of Salammbô, Gustave Flaubert's historical novel from 1862, set three centuries BC. Flaubert was famous for not wanting his texts illustrated: he argued that the preciseness of images would undo the poetic vagueness of his written words. The article examines how Druillet tackles the challenge of graphically representing Flaubert's canonical work without reducing the priestess Salammbô into a given type. The analysis shows a dynamic adaptation process in which Druillet gives a kaleidoscopic form to Flaubert's text. His variation on the Salammbô character foregrounds photography, a medium historically relevant to the novel but also to Druillet's own artistic training. Featuring his character Lone Sloane in the role of Mathô, the adaptation proves to be a highly personal appropriation of the novel, where Druillet enhances an autobiographical dimension of his work previously hinted at in La Nuit and Gaïl.

Cognitive dominants of the conceptual sphere in the novel “of human bondage” by W. S. Maugham

2020 ◽  
Vol 6 (1) ◽  
pp. 48-61
Author(s):  
Olga B. Ponomareva ◽  
Valeriya I. Orlova
Keyword(s):  
Cognitive Linguistics ◽  
Meaning Of Life ◽  
The Novel ◽  
Thought Processes ◽  
New Paradigm ◽  
Comprehensive Description ◽  
Semantic Fields ◽  
Linguistic Representations ◽  
Basic Concepts ◽  
Linguistic Methods

This article presents a comprehensive analysis of the basic concepts that make up the conceptual sphere of the novel “Of Human Bondage” by W. S. Maugham. These concepts act as cognitive dominants of the linguistic consciousness of the protagonist’s linguistic personality in the work under study. The novelty of this research lies in the fact that it is performed within the framework of a new paradigm of linguistics — the cognitive linguistics, which involves the study of mental and linguistic representations of thought processes that occur during the perception of information. Moreover, the novel “Of Human Bondage” by W. S. Maugham has not attracted the attention of linguists-cognitologists previously, which adds to the novelty of this article. In addition, the present study provides a comprehensive description of the basic concepts making up the conceptual sphere of the novel. The linguistic methods of representing various concepts in the analyzed work are determined by the national, personal, cultural, and psychological aspects of Maugham’s thinking. The authors employ a communicative-cognitive methodological analysis proposed by N. S. Bolotnova involving the modeling of textual and intertextual semantic fields of artistic concepts and the analysis of the conceptual sphere of a literary text. The universal concepts RELIGION, LOVE, PASSION, THE MEANING OF LIFE, which constitute the conceptual sphere of the novel by W. S. Maugham “Of Human Bondage”, are analyzed. The main result of the study is that THE MEANING OF LIFE concept is universal, not individual, and it includes other universal concepts, such as RELIGION, LOVE, PASSION, THE MEANING OF LIFE, conceptual metaphors and metonyms, symbols, and other words-associates, which constitute the broad figurative and evaluative periphery of the conceptual sphere of the novel.

Saints and Miracles: The End of the Affair

2018 ◽  
Author(s):  
Allan Hepburn
Keyword(s):  
The Novel ◽  
Graham Greene ◽  
Georg Lukacs ◽  
Dorothy Sayers ◽  
Theory Of The Novel ◽  
The Mind ◽  
Georg Lukács

Miracles rarely appear in novels, yet Graham Greene includes several of them in The End of the Affair. Sarah Miles heals a boy suffering from appendicitis and a man with a disfigured cheek. Like a saint, she seems to heal or revive through her compassionate touch, as when she raises her lover, who may or may not have died in a bomb blast, by touching his hand. This chapter locates Sarah’s interventions amidst debates about miracles, beginning with David Hume’s sceptical rejection of inexplicable phenomena, through such mid-century books as C. S. Lewis’s Miracles and Dorothy Sayers’ The Mind of the Maker. The inherent godlessness of novels, as Georg Lukacs puts the matter in Theory of the Novel, would seem to ban mystical content altogether from novelistic discourse. Yet this chapter argues for the revaluation of mystical content—the ordeals of the whisky priest in The Power and the Glory, for example—within the generic precincts of the novel.

Kidnapped

2014 ◽  
Author(s):  
Robert Louis Stevenson ◽  
Ian Duncan
Keyword(s):  
West Coast ◽  
Historical Novel ◽  
The Novel ◽  
The West ◽  
Scottish Highlands ◽  
Cross Country ◽  
First Time ◽  
Adventure Stories

Your bed shall be the moorcock’s, and your life shall be like the hunted deer’s, and ye shall sleep with your hand upon your weapons.’ Tricked out of his inheritance, shanghaied, shipwrecked off the west coast of Scotland, David Balfour finds himself fleeing for his life in the dangerous company of Jacobite outlaw and suspected assassin Alan Breck Stewart. Their unlikely friendship is put to the test as they dodge government troops across the Scottish Highlands. Set in the aftermath of the 1745 rebellion, Kidnapped transforms the Romantic historical novel into the modern thriller. Its heart-stopping scenes of cross-country pursuit, distilled to a pure intensity in Stevenson’s prose, have become a staple of adventure stories from John Buchan to Alfred Hitchcock and Ian Fleming. Kidnapped remains as exhilarating today as when it was first published in 1886. This new edition is based on the 1895 text, incorporating Stevenson’s last thoughts about the novel before his death. It includes Stevenson’s ‘Note to Kidnapped’, reprinted for the first time since 1922.

The Place of Myth in Philosophy

Philosophy ◽  
1936 ◽  
Vol 11 (42) ◽  
pp. 131-145
Author(s):  
W. R. Inge
Keyword(s):  
Philosophy Of Religion ◽  
Creative Imagination ◽  
The Real ◽  
Space And Time ◽  
The World ◽  
Scientific Fact ◽  
The Mind

My subject is the place of myth in philosophy, not in religion. If I were dealing with the philosophy of religion, I should, of course, have much to say on the place of myth in theology; and what I have to say may have some bearing on this subject; but I am not dealing with particular dogmas of Christianity or of any other religion. My thesis is that when the mind communes with the world of values its natural and inevitable language is the language of poetry, symbol, and myth. And, further, that philosophy has to deal with a number of irreducible surds which cannot be rationalized. They must be accepted as given material for reason to work upon. For example, we do not know why there is a world; we cannot unify the world of what we call facts and the world of values; there are antinomies in space and time which do not seem to disappear when we put a hyphen between them. Our reason–some would say reason itself— has reached its limits. We are driven to mythologize, confessing that we have left the realm of scientific fact. We give rein to the imagination, not exactly claiming with Wordsworth that it is reason in her most exalted mood, but hoping that the creative imagination may reveal to us some of the real meaning of questions which we cannot answer.

scholarly journals Improving the Downwind Sail Design Process by Means of a Novel FSI Approach

2021 ◽  
Vol 9 (6) ◽  
pp. 624
Author(s):  
Antonino Cirello ◽  
Tommaso Ingrassia ◽  
Antonio Mancuso ◽  
Vincenzo Nigrelli ◽  
Davide Tumino
Keyword(s):  
Numerical Methods ◽  
Low Cost ◽  
The Novel ◽  
The Real ◽  
Weakly Coupled ◽  
Design And Manufacturing ◽  
Sailing Yacht ◽  
Computational Resources ◽  
Effective Use

The process of designing a sail can be a challenging task because of the difficulties in predicting the real aerodynamic performance. This is especially true in the case of downwind sails, where the evaluation of the real shapes and aerodynamic forces can be very complex because of turbulent and detached flows and the high-deformable behavior of structures. Of course, numerical methods are very useful and reliable tools to investigate sail performances, and their use, also as a result of the exponential growth of computational resources at a very low cost, is spreading more and more, even in not highly competitive fields. This paper presents a new methodology to support sail designers in evaluating and optimizing downwind sail performance and manufacturing. A new weakly coupled fluid–structure interaction (FSI) procedure has been developed to study downwind sails. The proposed method is parametric and automated and allows for investigating multiple kinds of sails under different sailing conditions. The study of a gennaker of a small sailing yacht is presented as a case study. Based on the numerical results obtained, an analytical formulation for calculating the sail corner loads has been also proposed. The novel proposed methodology could represent a promising approach to allow for the widespread and effective use of numerical methods in the design and manufacturing of yacht sails.

The real banality of evil

2005 ◽  
Author(s):  
◽  
Regine Lamboy
Keyword(s):  
Hannah Arendt ◽  
Formal Analysis ◽  
University Of Missouri ◽  
The Real ◽  
Banality Of Evil ◽  
Life Of The Mind ◽  
Adolf Eichmann ◽  
The Mind ◽  
The University

[ACCESS RESTRICTED TO THE UNIVERSITY OF MISSOURI AT AUTHOR'S REQUEST.] When Hannah Arendt encountered Adolf Eichmann at his trial in Jerusalem she was struck by the fact that his most outstanding characteristic was his utter thoughtlessness. This raised the questins of whether there might be a connection between thinking and abstaining from evil doing, which she explored in her last book The Life of the Mind. If there is indeed such a connection, there may be a class of people who might be led to abstain from evil doing if they can be persuaded to engage in thinking. This dissertation examines Arendt's success in establishing such a connection. Overall, her project does not really succeed. Her overly formal analysis of thinking wavers between a highly abstract and obscure conceptualization of thinking and a more down to earth definition. Ultimately she winds up stripping thinking of all possible content. .

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